Tone-modifying means for pianos.



No. 782,799. PATENTED PEB. 14, 1905.

Y I. B. SMITH.

TONE MODIPYING MEANS PoR PIANOS.

APYLIOATION FILED NOV. 2l, 1904.

UNITED STaTEs Patented February 14, 1905.

EETcE.

PATENT IRVING B. SMITH, OF PlllLADELPllA, PENNSYLVANIA.

SPECI'FICATIONforming part of Letters Patent No. 782,799, dated February 14, 1905.

i Application filed November 21, 1904. Serial No. 233,573.

To /r/Z 'miv/071e 7115 'nm/y concern:

Be it known that l, IRVING B. SMiTiii, a citizen of the United States, residing at Philadelpliia, in the county of Philadelphia and State of Pennsylvania, have invented new and useful Improvements in Toiie-h/lodifyiiig Means for Pianos, of which the following is a specillication.

My present invention relates to tone-modiiiers or pianissimo devices for pianos, and is more especially adapted for use in connection with pianos havingl a self-playing attachment embodied therein or in connection with pianos operated by external piano-players; and the object of the invention is to provide a device of the character described that is simple in construction. easy and eective in operation, and readily attaehable to pianos now in use without in any manner altering the construction thereof.

YIn endeavoring to secure pianissimo effects on a piano operated by a self-playing attachment or by an external self-player some difficulty is encountered as soon as it is attempted to also obtain rapid repetition. For example, if a repetition of, say, six hundred or eight hundred notes per minute is desired this is difhcult to get owing tothe rapid movement that must of necessity be imparted to the various parts of the mechanism both in the piano-player and in the piano-action proper. This will be more fully appreciated when it is considered that in a piano the hammer and key together form two members in quite a long train of mechanism, the hammer being` the actuated member and the key the actuating member. Now these various parts are impelled by one or two forces to return to their position of rest after sounding a note. Consideringfirst the key, this element is usu- .ally so weighted that the front end is slightly the heavier, and consequently it relies upon the balance of the train of mechanism to return it to its position of rest. On the other hand, the parts of the mechanism between the hammer and the key are forced by gravity to return to their downward or rest position. lf now the hammer proper is considered, it will be seen, hrst, that this element is assisted by a very weak spring', and, furthermore, its gravitative force is very small, owing to the fact that the center of gravity of the key is so nearly over the pivotal point upon which the key turns. As a result itwill be seen that the one element in the train least active to return to rest is the hammer. This will be especially apparent and may be readily demonstrated by striking a piano-key and then watching the various paits of the piano-action come to rest or assume their normal position.

lt has been demonstrated under practical working conditions that b v placing' a spring back of the hammer handle or stem7 in the manner hereinafter to be made clear it is not necessary to lessen or weaken the force of the blow upon the hammer in order to lessen or weaken the sound. On the contrary, a hard blow on the hammer will through the medium of the opposing spring cause a light blow on the string and result in a soft tone being' given oil". ln other words, when a spring opposes the action of the hammer movement, however strong the force of the blow upon the hammer, this force will be partly expended or absorbed by the spring (through its bending action) and the blow struck upon the string will be light. Again, the bent spring represents potential energy stored up and ready to assist in the rapid return of thehamnier, which is a desideratum of considerable importance.

The advantage of locating a spring so that it opposes the movement of the hammer in one direction and assists in its movement in the opposite direction over such arrangements where a spring opposes a striker-lever that operates directly on the piano-key will be evident when it is considered that it is the hammer itself that is slow in action, and it is the means for opposing and assisting' the movement of the hammer that constitutes one of the salient features of this invention.

Another important feature of the invention resides in the peculiar manner of mounting `so that they may be caused to exert dilierent degrees of opposition to the different hammers of the series or bank, whereby to secure a progressively increasing' or decreasing tone Volume at diti'erent points along' the range of and operating' the hammer-opposing springs 9 lOO strings, either in the treble, the bass, or the middle, thus enabling the performer to obtain at will crescendo or diminuendo effects. to accenta note or group oi' notes at any point throughout the range of strings, to bring out or accent the air or melody and subdue the accompanying parts, to wave a trill, and to secure many other pleasing' and artistic musical effects.

ln order to enable others to clearly understand the invention and to practice the same, l will now describe one embodiment oi' means for accomplishing' the ends in view, reference being made to the accompanyingdrawings, in which-- Figure lis a view, partly in section, oli a part of an upright piano, showing my improvements applied thereto, the piano being.

shown as operated by a playing attachment and also by an external player. Fig. 2 is a top plan view of the means for operating' the tone-modiiier or pianissimo device. Fig. 3 is a front elevation of the same.- Fig. '-1 isa diagrammatic view showing' the normal position of the bank or series ot' opposing' springs relatively to the hammerstems. Fig. is a similar view showing the position of the springs when the treble notes are to be accented and the bass and part of the middle notes subdued. Fig'. 6 is a similar view showing' the position ot' the springs when the bass notes are to be accented and the treble and part of the middle notes subdued. Fig. 7 is a like View showing' the position of the springs when both the treble and bass notes are to be graduallyaccented Vfrom the middle toward the hig'hest trebleand lowest bass. Fig'. 8 is a like view showing the position of the springs when the middle notes are to be accented and the bass and treble gradually subdued; and Fig. 9 is a side elevation of a piano-hammer,

showing a slightly-diiferent application of the opposing' spring'.

Referring to the drawings, and more particularly to Fig. l thereof', the reference-numeral l indicates part otl a piano-case below the keyboard; 2, one of the piano-keys; 3, the piano-strings; 4, the piano-action ot' any wellknown type in which is embodied the hammer 5, mounted upon the hammer-stem 6, and having' the usual back-cheek 7. In the present instance I have shown the piano-key 2 as being' actuated through the medium of an internal self-playing attachment in which is embodied a striker-rod 8, adapted to imping'e the rear end ot' the piano-key 2, and have also shown an external piano-player embodying a case or cabinet 9 and striker-levers 10, which overhang the front ends of the keys 2, said strikerlevers l() being actuated from any ot' the wellknown means, such as power-pneumaties (Not shown.)

Iwill now proceed to describe the tone-inedifying means, which comprises the essential feature of this invention.

Arranged transversely olf the piano, at a point adjacent to the hammers, in any convenient manner, is a bar or rail l2, to the upper face of which .is pivoted three levers 13, '14, and 15, the lever l?) beingl pivoted at 16, the lever M being pivoted at 17, and the lever 15 being' pivoted at 18. Separate springs 1), as shown in Fig. 2, are arrang'cd to normally exert pressure against the levers 13, l-it, and 15 for a purpose presently to be explained, the levers being restrained or held against movement in one direction or in the direction opposing' the force of the springs by means of stop-pins 20. Projecting upward or vertically from one end ot' each of the levers 13, 14E, and 115 is a pin or stud 21, each having a collar 2Q, and iitted over these pins or studs and resting' upon the collars are two bars or bar-sections 22 and 2i, the outer ends of which are provided with apertures to receive the pins or studs on the levers l?) and M and the inner or adjacent ends of which are stepped and aj'iertured to receive the pin or stud on the lever 15. Secured to and projecting upward from each ol the bar-sections 23 and 24 is a plurality olf forwardly-bent spring-bliules 25, one for each piano-hammer, the bent ends oli said spring-blades normally lying in liront of and preferably in contact with the stems 6 ot' the piano-hammers, the arrangement being' such that the springs will oppose the movement ot' the hammers as they advance to strike the strings, the eli'ect of this being to lessen the force et' the blow on the strings and cause a sott note to be sounded. vlt will be apparent that if the bar-sections 23 and 2&,01' eitherof them, is moved toward the string's or away Yfrom the hammer-stems the springs will oller less resistance to the movement ofthe hammers, and thus enable the latter to strike a sharper blow against the strings. Furthermore, it will be apparent if the bar-sections are moved so as to occupy the position shown in dotted lines in Fig'. fl then the springs will ol'l'er no resistance whatever to the moven'ient olf the hammers and a full blow will be struck. Again, it will be observed il the bar-sections are moved so as to assume a position at an ang'le to the plane of the strings or to the plane ot the line of hammer-stems then the opposition or resistance oilered to the lforce of adjacent hammers will vary progressively or te dil'l'erent extents from hammer to hammer either toward the bass, the treble, or the middle ot thc piano-keyboard or range of pianostring's. l have provided means for giving these various movements to the bar-sections and hammer-opposing springs, and it is this that constitutes one oli the most important vleatures of the invention. The means referred to will now be described.

By referring to Fig. 2 ol'l the drawings it will be seen that one end of each ol5 the levers v13, 14, and l5 terminates at about su btantially thesame point, and to each ot' the said ends is IOO IOS

ITO

I secured a cord or strap 26, the said cords or straps passing over separate pulleys 27, journaled in brackets 28, secured to the transverse bar or rail 12, and the other end ot' each cord or strap being secured to a lever 28, there being one for each cord, said levers each having' a iinger piece or button 29, bearing', respectively, the letters "Bf ,M,ant M the letter B representing the bass hammers or strings of the piano, the letter "'M indicating' the middle hammers or strings ot' the piano, and the letter m indicating' the treble hammers or string's of the piano. The operation of this part of the device is as follows: As will be seen by referring to Fig'. 4 ot' the drawings, all of the opposing' spring's are positioned so as to have a uniform bearing against the hammer-stems 6, so that the action of the hammerswhen moved will be opposed to the same extent, the springs also acting' to assist in the return of the hammers a't'ter they have struck the strings. It now it is desired to accent the notes in the treble ot' the piano, the lever 28 having the linger-button with the character T thereon will be depressed, and this will cause the lever 14, through the cord 26, to be rocked on its pivot 17, so as to throw the outer end of the bar-section 2%, with its opposing' springs, outward or toward the string's and away from and at an angle to the line of hammer-stems, as more clearly shown in Fig. 5. This will result in bringing' the spring's that cooperate with adjacent hammers in the treble and a part otl the middle of the piano at gradually-increasing distances from the middle string ot' the piano outward toward the highest string' of the treble, so that the tones thus given off will vary gradually, whereby a crescendo effect will be produced. 1n view of the Afact that the bar-sections are pivotally connected at their adjacent ends and provided with separate operating means it will be seen that the movement ot thel section 24 just described will rhave no effect on the bar-section 23. Hence all the hammers in the bass and a part of the treble will be opposed uniformly by the springs carried by said bar-section 23, and these notes will thus be sounded with pianissimo effect. By depressing' the lever 28 having' the linger-button bearing the character B the same action will take place with regard tothe bass notes et' the piano, as illustrated in Fig. 6. lf new it is desired to accent both the bass and treble notes and at the same time subdue the notes in the middle rang'e otl the keyboard, the two levers 28 bearing the characters T and M will be simultaneously depressed, which will move the bar-sections and theiropposing springs to the positions indicated in Fig. 7. It, on the other hand, it is desired to accent the middle notes and gradually subdue the bass and treble, the lever 28 carrying' the button with the character M thereon will be depressed, and this will shift the two barl l l l sections 23 and 2e, with the opposing springs 25, to the position indicated in Fig. 8, in which the bass and treble notes will be gradually subdued from a point near the middle outward and the notes ot' the middle range will be accented. It will be apparent that a number of different combinations may be secured by variously operating the three levers 28 and also that the degree et' opposing' force ot' the strings can be varied accordingto the amount otl depression given to the levers 28.

In order to provide for the operation of the levers 28 'from the well-known external type of piano-player', as illustrated at 9 in Fig. 1, 1 provide players ol this type with suitable lever mechanism, shown in the present instance as a bell-cran k lever 30, pi voted at 31 and having its tree end 32 arranged te be positioned directly over the finger-buttons 29 of the levers 28. Vlt will be apparent that three of these bell-crank levers will be employed, one for each of the three levers 28, and that the movement ot' the bell-crank levers 30 in the direction ot' the arrow in Fig. 1 will depress the levers 28 to move the bar-sections 23 and 24 and their springs in the proper direction, the said sections being' returned to normal position by means of the springs 19.

l do not wish to be understood as limiting myseltl to the arrang'en'ient shown in Fig. 1, wherein the spring's act directly upon the hammer-stems, as they may be arranged to act upon some other part of the hammer -as, for instance, upon the back-cheek 7, as shown in 9. Vln this case the bar-sections 33,' et' which there are two, as before described, carrying the springs 34C, as shown in Fig. 9, will be moved vertically at an angle to the line of back-checks instead or' horizontally toward and from the hammer-stems, as show n in Fig. 1. Neither do l wish to be understood as limiting myseltl to the precise construction ot means herein shown and described for actuating' the bar-sections, for it will be obvious that other means may be employed without departing from the spirit et the invention as heretofore described.

Having' thus described my invention, what l claim, and desire to secure by Letters Patent, is

1. In a tone-modifying' device for pianos, the combination with the piano-hammers, of springs opposing' the action et' said hammers, and means for varying', to dil'lerent extents, the opposing ltorce otA the springs of adjacent hammers.

2. In a tone-modifying' device 'for pianos, the combination with the piano-hammers, ot' resilient means for opposing' the action of said hammers, and mechanism for varying to different extents, the opposing' force ot' said means on adjacent hammers.

3. 1n a tone-modifying device for pianos, the combination with the piano-hammers, of means arranged to bear against a part of said IOO hammers to oppose the action thereof and asl rality of blade-springs one Vfor each hammer sist in their return to normal position, and mechanism for varying', to different extents, the opposing' force of said means on adjacent hammers.

4. ln tone-modifyingl means for pianos, the combination with the piano hammers, of springs opposing the action of said hammers, and means under the control of the performer, for varyii'ig to different extents, the opposing force of the springs cooperating with adjacent hammers in the treble part of the piano.

In tone-modifying means for pianos, the combination with the piano hammers, of springs opposing' the action of said hammers, and means under the con trol of the performer, for varying' to different extents, the opposing force of the springs cooperating with adjacent hammers in the bass part of the piano.

6. ln tone-modifying` means for pianos, the combination with the piano hammers, of springs opposing the action of said hammers, and means under the control ofthe performer, for varying to different extents, the opposing force of the springs cooperating with adjacent hammers in the middle range of the piano.

7. 1n tone-modifying' means for pianos, the combination with the piano hammers, of means arranged to be brought to bear against a part of said hammers to oppose the action thereof and assist in their return to normal position, and mechanism under the control of the performer,for varying' to different extents, the opposing force of a portion of said means cooperating with some of the adjacent hammers of the bank independent of others.

8. lln tone-modifying means for pianos, the combination with the piano-hammers, of pivoted bar-sections each section carryingl a plu* rality of blade-springs one for each hammer, arranged to bear thereagainst to oppose the action thereof, and means under the control of the performer for pivotally moving' either end of either baresection to vary the distance to different extents between adjacent hammers and springs.

9. ln tone-modifying means for pianos, the combination with the piano-hammers, of pivoted bar-sections each section carrying' a pluarranged to bear thereagainst to oppose the action thereof, and means under the control of the performer for pivotally moving the barsections to vary to different extents the distance between adjacent hammers and. their cooperating springs.

lO. 'In tone-modifying means for pianos, the combination with the {nano-hammers, of pivotally-connected bar-sections each section carrying' a plurality of blade-springs one foreach hammer arranged to bear thereagainst to oppose the action thereof, three pivoted levers carrying said bar-sections, and means for actuating said levers to move the bar-sections in the manner and for the purpose described.

11. ln tone-modifying means for pianos, the combination with the piano-hammers, of pivotally-connected bar-sections, a pluralityY of blade-springs, one for each hammer, carried by said bar-sections, three pivoted levers upon which said bar-sections are pivotally mounted, springs acting' upon said levers to resist movement thereof in one direction, and means under the control of the performer for actuatilig either of said levers at will vfor the purpose specified.

12. In tone-modifying means for pianos, the combination with the piano-hammers, of pivot'ally-connected bar-sections, a plurality of blade-springs one foreach hammer, carried by said bar-sections and arranged to oppose the striking action of the hammers, a rail located transversely of the piano, three levers separately pivoted to said rail and carrying projecting pins which pass through separate apertures in the said bar-sections, manuallyoperable levers pivoted to the piano beneath the keyboard thereof,and separate connections between said first-named levers and the manually-operable levers.

In testimony whereofl l have hereunto set my hand in presence of two subscribingwitf nesses.

lRVlNG B. SMl'lH.

lVitnesses:

Guo. Z. SUTTON, LINDA (Jorn Snrrn. 

